Tag Archives: Ian MacKaye

In 1987, industrial-metal pioneers, the illustrious Ministry, teamed up with straight-edge mogul, Ian MacKaye (of Minor Threat and Fugazi), for an ambitious, yet magnificently executed collection of hardcore punk-industrial hybrids. Calling themselves Pailhead, the short-lived supergroup released six tracks over three releases and a comp. Featured here is their first record, well, the 12″ version of it, titled I Will Refuse. It’s not surprising that the record received both a 12″ and 7″ release, catering towards both the industrial (12″) and punk crowds (7″) respectively. Swap out MacKaye for Jello Biafra, add a few years (1989), and you’ve got LARD, another, more long-lasting venture into the punk-industrial genre that these Pailhead fools almost single-handedly established. It’s not perfect, but it’s pretty damn close. Check ’em out.

Dischord Records did a remarkable thing for fans of early, D.C. based hardcore. Back in July of 2007, the label, owned by Minor Threat frontman and drummer, Ian MacKaye and Jeff Nelson, reissued four, LONG out of print 7” EPs as the 12” comp, Four Old Seven Inches On A Twelve Inch.

When you consider how much these original records sell for (brace yourself, because this is crazy: Teen Idles – Minor Disturbance E.P. – $750, S.O.A. – No Policy E.P. – $450, Government Issue – Legless Bull E.P. – $208.35, and Youth Brigade – Possible E.P. – $538.40), fans of the genre, like myself, may not otherwise have heard these historic rants had a compilation such as this not been released. Totaling $1946.75 for the originals, the $12 price of the comp still doesn’t seem so bad.

1988, with all its impotence and social frustrations, was a pretty damn outstanding year for music. Today we’re going to focus on (albeit very briefly because, let’s face it, I’ve got things to do) two outstanding works of Industrial fusion helmed from the prolific production due that was once known as Luxa Pan Productions. Very quickly, for those of you who have been living in a K-Mart dressing room for the past 25 years, Luxa Pan (Hypo Luxa and Hermes Pan, respectively) were the monikers of Al Jourgensen and Paul Barker. Sorry to be redundant for those to whom this fact is obvious… moving on.

In 1988, Ministry (Jourgensen/Luxa, Barker/Pan & crew) released the consciously alarming The Land of Rape and Honey. Also released in 1988 was Trait by Pailhead. Luxa Pan Productions was/is known for their excessive side projects, and their teaming with Minor Threat/Fugazi frontman, Ian MacKaye to form Pailhead is one of these bountiful side gigs.

Ok, so, FINALLY getting to the meat and potatoes of this damned post. Take a look at the pic of both covers at the top. Both albums were released the same year (1988), and both featured masterminds Jourgensen and Barker. Do the covers seem a bit similar to you? Something like a mushroom cloud, right? “Yes?” You reply with a vague tone. Ok, now take a look at the pic below.

By converting to grayscale and inverting the colors to The Land of Rape and Honey, you can clearly see the stark similarity between these two covers. I’m racking my brain on what this could mean. Did the boys just dig an ambiguous mushroom cloud image, enough to reproduce it on two different album covers by two “different” bands? Maybe. Did their excessive drug use drain them of their creative juices leaving them to repurpose an old idea? I don’t think so.

Here’s my thought. 1988 opened the door for a tsunami-sized wave of creative output by the Luxa Pan team (focusing solely on albums released between 1988 and 1993), and this mushroom cloud was a symbol for an explosion of releases that would define the career of both Al Jourgensen and Paul Barker.

Allow me to briefly break it down: Three albums by Revolting Cocks (You Goddamned Son of a Bitch, Beers, Steers, and Queers, and Linger Fickin’ Good), three albums by LARD (LARD, The Last Temptation of Reid, and Pure Chewing Satisfaction), a release by PTP, two released by 1000 Homo DJs (Apathy, and Supernaut) three by Lead into Gold (Idiot, Age of Reason, and Chicks & Speed: Futurism), four albums by Ministry (The Land of Rape and Honey, The Mind is a Terrible Thing to Taste, In Case You didn’t Feel Like Showing Up, and Psalm 69: The Way to Succeed and the Way to Suck Eggs) and finally, two releases by Pailhead (I Will Refuse and Trait). So, if my overly simplified calculations are correct (and they probably aren’t), in the span of only six years, Luxa Pan Productions produced a total of 18 albums. The mind boggles in its feeble attempt to process this information.

Whether these covers were foreshadowing the brilliant work of two insanely talented musicians, or it was simply an overanalyzed coincidence, 1988 ignited a bonfire under Luxa Pan Productions, the flames of which are still burning strong to this day.